So Evil, So Young

An innocent girl, Ann (Jill Ireland) is framed by an evil girl, Lucy (Jocelyn Britton) and sent to a borstal (British girls prison). There we have an evil prison guard, suicides, cat fights, riots and a strong suggestion of lesbianism.

For what it is, it's not bad. It's made in bright, strong colors and has a fairly decent script. Jill Ireland is actually pretty good as Ann, Sheila Whittingham is equally fine as a fellow inmate and Ellen Pollock amusingly chews the scenery as the evil Miss Smith. Also the lesbian suggestions were pretty strong for its time. But I can only give this a 5.

For some reason, they play sleazy music almost constantly in the background. It never matches whats playing on the screen and totally destroys any dramatic impact. Also, you can tell the actors are doing a good job, but the music is really distracting. At some points the music almost drowns out the dialogue! What's the point of all that?

So, without the music I would probably give it a higher rating but, as it stands, I can only give this a 5.

Lucy Owens robs a safe in a mansion where she used to work. She is spotted by the butler but the other girl Claire gets away. She's jealous of Ann Turner (Jill Ireland) over a musician named Tom and frames her as her accomplice. Ann is sentenced to three years and gets imprisoned along with Lucy. The Matron is trying to be a modern reformer while the brutal Miss Smith has other ideas. Mary becomes Ann's only prisoner friend.

Tom is really dumb. His ex is caught stealing and his new girlfriend is supposedly her partner. Sometimes, I call movie characters too dumb to live. Tom starts out as one of those. In the real world, he would be called to testify. In order to make the movie not dumb, he needs to be scared of being pulled into the whole affair. He wouldn't want to be called a co-conspirator. Anyways, it would be better for the story to have him abandon her. It needs to be her alone against the world. As for her escape, she needs a better reason like Miss Smith telling her that she is going to hang her next. Like a lot of this movie, the writing is not quite well thought out. This is not good enough to be taken serious and it's definitely not camp.

Well this is not John Cromwell's CAGED nor Lewis Seiler's WOMEN'S PRISON, the best of the best in terms of gals behind bars, in the can, but this one is different of the exploitiation stuff that will emerge in the seventies, providing nude, sex, violence - maybe realistic though, regarding what really happens in jail - but unfortunately meaningless, destined to male audiences seeking girls else than law abiding students living in a quiet suburb dating for the first time. This film is definitely smoother, nearly destined to family audiences, than the previous movies which I first talked about here. And Jill Ireland had an actress life before meeting Charles Bronson.

This one is pretty tame. One usually watches these old exploitation pix for their camp value. You know, girls/women in prison with girdles and push up bras under their tailored uniforms and perfect bought hairsmdos. This one is pure as the pink pressed dresses they all wear.

The plot picks up by way of the usual melodramatic misunderstanding and a riot ensues.

Jill Ireland is very lovely but what this film really needed was a Diana Dors type, in a tight uniform, cotton colored hair and walking around slinging her hips in a tight uniform chomping gum and chain smoking.

This was bad, but no reason for John Charlesworth to gas himself over.

One of a couple of colour co-features the Danziger Brothers made around the turn of the 1960s, this was written by an American and follows the American "women in prison" stereotype except that of course it has no teeth. The reform school inmates are all well turned-out young ladies and it's absurd that one of them is described as having "a distinct Cockney accent" because everybody uses RP. There's a brief riot; but the main appeal for lads at the time would have been the girls in bed scenes. There's also a hint of lesbianism. The coffee bar looks nothing like one and the pop star who's performing (John Charlesworth) doesn't open his mouth while the track is playing! (Charlesworth finished his role then killed himself). Watch out, during the penultimate scene, for the actress who flinches before she's slapped. The film probably inspired "House of Whipcord". Some of the lines are identical and the parts of the lesbian wardress played here by Ellen Pollock and in "Whipcord" by Sheila Keith are basically the same. The film's currently on You Tube.